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At Aix he fell in love with Madame Charles, who died in 1817. This love-episode, ending so pathetically, became the subject of much of his verse, and forms the basis of the famous Raphael, a book of the purest, most delicate and elevated sentiment. Resigning from the guard, he enjoyed two more "wander-years," revisiting Switzerland, Savoy and Italy.
On reaching his room, narrow and stuffy as a prison-cell, Yourii found life as dreary as ever, and his little love-episode seemed to him thoroughly commonplace. "I stole a kiss from her! What bliss! How heroic of me! How exquisitely romantic! In the moonlight the hero beguiles the fair maid with burning words and kisses! Bah! what rubbish!
This is notably the case as regards music; one thinks of Mozart, of Beethoven, of Schubert, and many lesser men. In the case of poets and novelists chastity may usually seem to be less prevalent but it is frequently well-marked, and is not seldom disguised by the resounding reverberations which even the slightest love-episode often exerts on the poetic organism.
I vowed vengeance on the destroyer of my child, and I kept my word. I have destroyed his child, not compassed her death, but blighted her life, steeped her in misery and poverty, and now, thanks to the thousand devils, I have discovered a new torture for her heart. She thought to solace her life with a love-episode! Sweet little epicure that she was!
At its close Rocco enters with the despondent Jacquino, shortly followed by Fidelio, who is very much fatigued. The love-episode is brought out in the famous canon quartet, "Mir ist so wunderbar," one of the most beautiful and restful numbers in the opera.
Zangwill, in his vivid sketch, "The Maker of Lenses," makes this single love-episode in the life of Spinoza the controlling impulse of his life, probably reasoning on the premise that men who mark epochs are ever and always, without exception, those with the love nature strongly implanted in their hearts.
Until some great realistic poet shall prove the contrary by deeds, the mere critic is certainly justified in holding that, whatever may be thought of his love-episode, the ghost and the miraculous escape from bondage, the general requirements of the theme are best met by Schiller's romantic treatment. Turning from the heroine to the other characters, one finds but little that invites discussion.
But such a being as Schiller's Johanna is found in no saga; she is a purely arbitrary creation. A very thoughtful German critic, Bellermann, attempts to defend our love-episode by showing how Schiller took good care in the preceding scenes to depict his heroine as susceptible to the tender emotions of her sex; in other words, to depict her as a maiden who might conceivably love and be loved.
That, he said, was because "people of his sort" were more sensitive, more highly-strung; and he agreed that they were far better out of the world. Then, becoming intensely depressed, he almost wept. He now recollected with shame how he had been on the point of telling Ivanoff of his love-episode with Sina, and had almost flung the honour of that pure, lovely girl at the feet of this truculent sot.
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